Florence Knoll Grey Tuxedo Lounge Chair

It doesn’t get more timeless or starkly modern than the boxy chrome-footed Florence Knoll lounge chair.

Designed in 1954 by Florence Knoll Bassett (1917–2019) for the legendary furniture manufacturer Knoll Inc. that she helped establish with her husband Hans Knoll, the chair is representative of all her signature gestures, from the sturdy construction to the button tufting, and like the rest of her work, it embodies the very essence of modernism.

In many ways, Knoll was destined to become a household name. Orphaned at a young age, she was enrolled at Kingswood School, part of the Cranbrook Academy of Art, which became home to many stars of mid-century modern design. She later flourished in her architecture studies with Bauhaus masters like Marcel Breuer and others. Knoll was a protégé of Ludwig Mies van der Rohe at Columbia University’s School of Architecture, and her lounge seating, with its clean architectural lines, takes cues from her mentor.

Deeply inspired by the Bauhaus and its belief in melding art with industrial techniques, Knoll revolutionized the workplace. “Every time you see Barcelona chairs and a table in a lobby, that’s her [influence],” Kathryn Hiesinger, a curator at the Philadelphia Museum of Art, told the New York Times.

When Knoll designed this chair as part of her lounge series, which included a sofa, she called it “meat and potatoes” furniture and believed she was merely filling a need. While there’s no disputing the utilitarian properties of her classic pieces, they’re geometrically striking objects. The Florence Knoll lounge chair — with its low seat height and simple profile — would work in any setting, and Knoll was equally versatile. It’s hard to imagine modernism without her.

Architect, furniture designer, interior designer, entrepreneur — Florence Knoll had a subtle but profound influence on the course of mid-century American modernism. Dedicated to functionality and organization, and never flamboyant, Knoll shaped the ethos of the postwar business world with her polished, efficient design and skillfully realized office plans.

Knoll had perhaps the most thorough design education of any of her peers. Florence Schust was orphaned at age 12, and her guardian sent her to Kingswood, a girl’s boarding school that is part of the Cranbrook Educational Community in suburban Detroit. Her interest in design brought her to the attention of Eliel Saarinen, the Finnish architect and head of the Cranbrook Academy of Art. Saarinen and his wife took the talented child under their wing, and she became close to their son, the future architect Eero Saarinen. While a student at the academy, Florence befriended artist-designer Harry Bertoia and Charles and Ray Eames. Later, she studied under three of the Bauhaus masters who emigrated to the United States. She worked as an apprentice in the Boston architectural offices of Walter Gropius and Marcel Breuer; Ludwig Mies van der Rohe taught her at the Illinois Institute of Technology.

In 1941, she met Hans Knoll, whose eponymous furniture company was just getting off the ground. They married in 1946, and her design sense and his business skills soon made Knoll Inc. a leading firm in its field. Florence signed up the younger Saarinen as a designer, and would develop pieces by Bertoia, Mies and the artist Isamu Noguchi. Her main work came as head of the Knoll Planning Group, designing custom office interiors for clients such as IBM and CBS. The furniture Florence created for these spaces reflects her Bauhaus training: the pieces are pure functional design, exactingly built; their only ornament from the materials, such as wood and marble. Her innovations — the oval conference table, for example, conceived as a way to ensure clear sightlines among all seated at a meeting — were always in the service of practicality.

Since her retirement in 1965, Knoll received the National Medal of Arts, among other awards; in 2004 the Philadelphia Museum of Art mounted the exhibition “Florence Knoll: Defining Modern” — well deserved accolades for a strong, successful design and business pioneer. As demonstrated on these pages, the simplicity of Knoll’s furniture is her work’s great virtue: they fit into any interior design scheme.